Elijax electronic music, a collection of singles.
Support the composer following: https://elijax.bandcamp.com

Elijax electronic music

Electronic track. No samples. No loops. All sounds made by my synthz, mostly by themselves. Some random, some stochastic, some generative ideas. 98% perspiration. 2% (or less) inspiration.

COME

Electronic track. No samples. No loops. All sounds made by my synthz, mostly by themselves. Some random, some stochastic, some generative ideas. 98% perspiration, 2% (or less) inspiration.

DOVE

I composed Dante-Reset during the COVID-19 pandemic, in the spring of 2021. I selected some verses from the Divine Comedy by Dante Alighieri, to celebrate the  700 anniversary of his death. The Italian violinist Emy Bernecoli performed the vocals. All the samples then are generated from the electronic elaboration of her voice. 
	The composition was born out of the disillusion that a new and better society would be born.
	The painting used in the cover is ESPLOSIONE, oil on canvas, by Emidio Bernecoli (https://www.emidiobernecoli.it)

Dante-Reset nasce nella primavera del 2021, mentre l’epidemia di COVID-19 devastava il mondo e l’Italia. Ho utilizzato alcuni versi tratti dalla Divina Commedia di Dante Alighieri, in occasione delle celebrazioni del 700 anno dalla sua morte. La violinista italiana Emy Bernecoli ha recitato i versi, tutti i suoni si basano sull’elaborazione elettronica dei campioni vocali.
	Il pezzo nasce dalla disillusione sulla nascita di una nuova e migliore società.
	Il quadro nell’immagine di copertina è ESPLOSIONE, olio su tela, di Emidio Bernecoli (https://www.emidiobernecoli.it)

Dante-Reset

DANTE-RESET

Loops

I composed Ghosts and Lizards using a “found sound” in my sample library, which I recorded randomly a few years ago. It is a sort of a techno track, in which, towards the end, I develop a stochastic rhythm of percussions. After working on the piece, I found some of the music scary, and thought of the things that could possibly scare me the most (idiosyncrasy), or scare the less… at the end is the same.


Ho composto Ghosts and Lizards basandomi su un vecchio campione, una sorta di suono ritrovato, che avevo registrato alcuni anni fa. È una traccia techno, verso la fine sviluppo dei ritmi stocastici nelle percussioni. Fantasmi e lucertole che possono spaventare… o possono attrarre: alcune idiosincrasie in un titolo che ha un significato particolare.

Ghosts and Lizards

Ghosts and Lizards by Elijax

I composed the first version of Supercollider in the winter of 2014, in one night. I remember I used in an unconventional mode the distortion (well abused) and the limiter... instead of using faders I automated a limiter on the single tracks. The track was then sitting on my hard drive, waiting to be polished. This autumn I decided to re-record and re-program all the synths, trying to retain the aggressive unpolished sound I had in the first version. I hope you will enjoy!

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Ho composto la prima versione di Supercollider nell’inverno del 2014, in una notte. Ricordo di aver usato in maniera non convenzionale distorsori (meglio dire: abusato...) e i limitatori, questi ultimi utilizzati al posto dei volumi del mixer. La traccia è poi rimasta nel mio disco fisso per alcuni anni, in attesa di essere rifinita. Durante questo ultimo autunno ho deciso di registrarla da capo, cercando di mantenere l’aggressività della prima versione. Spero vi piacerà.

Supercollider

Supercollider (2020) by Elijax

check my main account for other music: 
https://soundcloud.com/elijax

Bio:
I have composed music for documentaries, short movies, advertising and dance halls.
The short movie Moto perpetuo (directed by Camillo Valle) resulted prizewinner in several competitions: Premio Montano (Verona, 2015), Blackbird Film Festival (New York City, NY, U.S.A., 2015), Clorofilla Film Festival (Grosseto, 2015), and nominated at the David di Donatello short movies (2014). Elia’s music for film resulted prizewinner also at “Visioni Ambientali” Cineteca di Bologna (2017, third prize), and finalist at the Video Concorso Pasinetti in Venice (2017). 
More about my background: I am a conductor, composer, pianist and musicologist. I hold a Ph.D. in musicology from the University of Bologna (Italy), and master’s degrees in pianoforte, conducting and composition. I studied conducting in Fiesole and Pescara (Italy), and at the Tanglewood Music Center (Lenox, MA, USA).
I have held scholarships at the Fondazione Cini, at Harvard University, at the Library of Congress, at the Paul Sacher Stiftung, at Yale University.
I have conducted orchestras such as Orchestra del Teatro Comunale di Bologna, Accademia Filarmonica di Bologna, Orchestra Giovanile Santa Cecilia, L’viv Virtuosos.
My repertoire ranges from Baroque to contemporary symphonic, operatic and balletic music. My compositions include a variety of genres, from Neoclassical to Electronic, and are used as soundtracks. As a pianist I am specialized in the Italian operatic repertoire, and in the Italian 20th Century piano music. My musicological research includes Neoclassical Music, Serial Music, 18th and 19th Century Opera, Ballet Music, Performing Practice, Music and Fascism.
I have reconstructed and edited Paisiello-Respighi, La Serva Padrona, Schott Music GmbH (2014), an opera-ballet I recently discovered and premiered in Bologna in 2014.

Loops

Elia Andrea Corazza (Elijax)